Ron Thompson

Amy Wilder

Sunday

Feb 24, 2013 at 12:01 AMFeb 24, 2013 at 1:00 AM

Entering Ron Thompson's studio is like stepping into an extended 3-D mind map in which the artist himself is the walking, talking central node. It's immediately clear that the University of Missouri graduate student connects himself to a bigger picture while considering his own voice and style and that he embraces deep roots: family ties, cultural heritage and his connection to a lineage of artists and movements, particularly Pop Art.

He willingly talks about his work and is ready to share a laugh, warning against taste-testing his art, much of which was created using Kool-Aid and corn syrup: "Don't drink the Kool-Aid," Thompson joked. But seriously, don't.

In the moment, he might have said this in jest, but it turns out the phrase is a good metaphor for the overarching thesis of Thompson's work: Question the status quo. Think critically about norms and philosophies and don't be blindly led. Don't drink the Kool-Aid. Also, please don't lick the artwork.

But why use Kool-Aid as pigment? "Kool-Aid was something from my childhood," he said. "It's also a stereotype that black people like to drink Kool-Aid or eat chicken." The answer to the next impulsive question is that Thompson has, in fact, used chicken in past work, none of which is now in the studio. That which is in the studio provides plenty of opportunity for discussion, however.

Transparent snapshot images of people are attached at the top of one wall and, as one of the most linear and cohesive elements in the space, immediately draw attention. Thompson made the transparencies from photographs in his family album, something he used in a previous project. "I made transfers onto wallpaper, almost like a printmaking technique; just trying some new stuff out," he said. "I get different marks and different images when I transfer it. These are leftovers from that project. … I wasn't sure if I'm going to use these photos again. I just like to hang them up for inspiration — keep my family with me, make my studio more comfortable."

He points out various family members and, in particular, images of his father. One hangs at the studio entrance: a man in a checkered shirt, dozing in a decidedly 1980s floral chair. Another shows the same man facing a boy, both grinning with their fists clenched in front of their faces. "Me and my pops when I was a kid," Thompson illustrated. "We were boxing."

Although his parents weren't necessarily artistically inclined themselves, "my auntie said a lot of them were interested in art when they were younger but never really pursued it," he said. "I'm the first one that went to college in my family history. I have a Bachelor of Science … in art, but I also took a lot of science classes. … I really appreciate it because it helps me in my artwork."

Thompson certainly embraces experimentation. "I like to play around with materials ... take a risk of failing, that's my whole motto." Near him on the floor, a high-top sneaker is mostly submerged in a small fish tank filled with a bright substance that looks semi-solid, like a Jolly Rancher that had an unfortunate day; it turns out to be Kool-Aid. The glass is cracked near the bottom, and there are sticky drip marks outside. "I tried to make hard candy, but it was so hot when I was pouring it that the candy inside the container cracked the glass," Thompson said. "It didn't work."

Another sneaker is partially submerged at an angle in a non-cracked tank on a nearby work table. "The first one was kind of more successful," he said. "It's corn syrup and Kool-Aid. I had to put sand into the shoe because it kept floating up to the top. I like the way it kind of sinks."

There is more evidence of experimentation: Prints and drawings of prominent cultural figures such as Rosa Parks and Malcolm X and moments like the 1968 Olympics human rights salute fill the studio. There is variation in style and technique, from loosely rendered, dripping faces to silkscreen prints featuring Ben-Day dots. "Roy Lichtenstein used those," remarked Thompson, who was inspired to try the technique after viewing the Pop artist's work at a show in Chicago.

"For Sale" and "Keep Out" signs are everywhere. One hangs on the wall, with an intricately rendered image of Malcolm X peering out in a combination of marks made with china marker and scratches in the aluminum. It's not surprising to hear Thompson's background is in drawing, although most of his work features untraditional drawing and painting techniques. He cites Jean-Michel Basquiat as influential in this regard.

"He didn't go with any trend," Thompson said. "He was just a maker of art. He was conscious about his community at the same time and used found materials. ... He changed the way I looked at artwork. It doesn't have to be neat all the time. But I have a real, I guess, academic style of drawing. … I was grateful to find Basquiat to teach me how to loosen up."

"I'm still striving to experiment with materials and concepts," Thompson said. "My work is about the black identity and trying to figure out: What is the black identity? How has it changed, and where did it come from?" Thompson's work remains on display at the Oldham/Gaines Black Culture Center on the MU campus until Thursday.

Never miss a story

Choose the plan that's right for you.
Digital access or digital and print delivery.